Re: [Nettime-bold] Re: questions (fwd)

[Josephine Bosma <jesis@xs4all.nl>]

fyi: this is an example of an interview that is not ok, because it is
not finished. I asked Brad if we could do an interview, because the
nature of his work, his persistent presence in the networks and most of
all his endless attacks on any kind of art professional other then
artists somehow come together in a way that does not make much sense,
and I thought it might be good to see if there is actually more behind
it then meets the eye. In quite a tragic way Brad's premature publishing
of our correspondence (he obviously does not trust that I will publish
it or he thinks this way he has more control) now illustrates how one
can create one's own unwanted seperation and rejection. He treats me,
single mum and free lance writer without connection to any organisation
or even publisher, as an institution. I wish some artists would see how
even being a rebel needs some kind of idea and insight in how to go
about it. Brad, as opposed to someone like Heath Bunting for instance,
does not see that he actually creates the very barriers and obstructions
he says he fights against. He puts them in place instead of trying to
find a way to deal with the problems around them and the basis of them.
It is also my sincere wish that most artists will be wise enough not to
follow his pattern of thinking, simply because he is present in
mailinglists and feeds on basic instincts. For gods sake see how saying
someone is shutting you out and treating them like they are being bad to
you is making it impossible for yourself to be treated in a normal way.
It is like going up to a stranger and saying he is not acknowledging
your presence. 

Next to the usual ribbons against html mails we might want to install a
ribbon against paranoia on the net. A sort of warning sign that not all
is what it seems to you on a bad day. "Give it a chance!"


best


J
*


{ brad brace } wrote:
> 
> On Thu, 5 Apr 2001, Josephine Bosma wrote:
> 
> > hi Brad
> >
> > Well, it is hard to say whether I know enough of your work, and that is
> > exactly the reason I want to as you a few things. I'll just ask some
> > things and lets see how it goes. As you might know I like to ask simple
> > questions, especially when the topic or subject is difficult   ;) Don't
> > take that as an insult please. These questions are a start, so I will
> > formulate others on your answers.
> >
> >
> > 1. Whats your education and how does this and other things in your
> > background relate to/influence your work ?
> 
> I've a ridiculous amount of often-disappointing (primarily) arts-education
> (even a MFA *shudder*)  -- I've studiously attempted to assist in
> reforming (antiquated/entrenched) art-teaching institutions. I still have
> hope.
> 
> In addition to teaching, consulting, occasional/informal exhibitions and
> some financial art-support online
> <http://bbrace.laughingsquid.net/buy-into.html>, I often find engaging
> employment and sustainable income with printing/publishing industries
> (electronic prepress) and new media.
> 
> > 2. What is the most important aspect of the 12hr project for you, and is
> > this aspect supported by the, for want of a better term, 'monotony' or
> > 'slowness' of the work?
> 
> Hmmm... I'd have to say it's the open, accessible sense of
> encompassing/shifting continuity... which is why I previously mentioned
> microtonal music as a possible corollary. But see
> <http://bbrace.laughingsquid.net/12hr-isbn-jpeg.html> for a fuller
> description/response.
> 
> > 3. Do you feel your work is in any way related to mail art?
> 
> ... Only in so far as correspondence art is about informal networks and
> independent production and dissemination of multiples.
> 
> > 4. You agitate against the artworld and any branche or relation of it a
> > lot. I find this kind of odd, since you are quite present in on line
> > communities or mailinglists engaged in art. What is this love/hate
> > relationship with art for you?
> 
> What positive things can any (non-institutionalized) artist have to say
> about the openly abusive, unrepentant, manipulative, swindling,
> self-serving, reprehensible old-Artworld... Where else but online would
> our objections be heard and 'alternatives' embraced? We love art/artists
> and will not lazily/silently see them abused/thwarted.
> 
> > These are the first ones. let me know if you have any trouble at all
> > with them. hope we make something good.
> 
> Tell me something about you Josephine.
> 
> > Regards
> >
> >
> > J
> > *
> >
> 
> The 12hr-ISBN-JPEG Project                >>>> since 1994 <<<<
> 
> + + +         serial           ftp://ftp.eskimo.com/u/b/bbrace
> + + +      eccentric          ftp://ftp.idiom.com/users/bbrace
> + + +     continuous       ftp://ftp.teleport.com/users/bbrace
> + + +    hypermodern      ftp://ftp.rdrop.com/pub/users/bbrace
> + + +        imagery   ftp://ftp.pacifier.com/pub/users/bbrace
> 
>       News://alt.binaries.pictures.12hr ://a.b.p.fine-art.misc
>   Reverse Solidus: http://www.teleport.com/~bbrace/bbrace.html
>                    http://www.eskimo.com/~bbrace/bbrace.html
>            Mirror: http://bbrace.laughingsquid.net/
> 
>  { brad brace }   <<<< bbrace@eskimo.com >>>>  ~finger for pgp
> 
> Note: all "Teleport" addresses (web/ftp/email) are being eliminated:
> no thanks to Earthlink scum. Please choose from listed alternates.
> 
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